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6/29/2025, 5:52:35 AM
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43
Oldboy
Park Chan-wook, 2005
A man in a plaid shirt with a camera around his neck holds the hand of a woman with long dark hair who is leaning dangerously over a railing.
The middle entry in the South Korean director Park Chan-wook’s Vengeance Trilogy hits like a hammer — to the head, leg, arm and anywhere else its protagonist can strike as he fights his way out of a hallway full of thugs. That celebrated action sequence is emblematic of this twisty (and twisted) thriller’s operatic levels of violence, but its emotions are dialed to extremes, too: “Oldboy” provokes and unsettles, right up to its disturbingly ambiguous final frame.
43
Oldboy
Park Chan-wook, 2005
A man in a plaid shirt with a camera around his neck holds the hand of a woman with long dark hair who is leaning dangerously over a railing.
The middle entry in the South Korean director Park Chan-wook’s Vengeance Trilogy hits like a hammer — to the head, leg, arm and anywhere else its protagonist can strike as he fights his way out of a hallway full of thugs. That celebrated action sequence is emblematic of this twisty (and twisted) thriller’s operatic levels of violence, but its emotions are dialed to extremes, too: “Oldboy” provokes and unsettles, right up to its disturbingly ambiguous final frame.
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